You should see it if you like laughing:D I am sure it won’t be waste of time:)

SHORT REWIEV: ‚What women want’ is a movie with a different
storyline when compared to other love movies. It has been wonderfully
directed by Nancy Meyers. Its main star cast includes Mel Gibson &
Helen Hunt. It is a story about Nick, a chauvinistic advertising
executive, who gains the ability to read women’s mind and find out what
they are thinking.

Initially, he feels like getting rid of this power but later on he
realizes that he can use it to his advantage. The first target of his
power is Darcy McGuire, his new boss, who took the promotion that he had
desired for. He plans to read her mind and present her thoughts as his
own. But, destiny had decided something else for him. He had just begun
misusing his power that he fell in love with her.

Valentine’s Day brings in the season of watching some romantic, passion filled and ardent movies with your darling. A candle light dinner, soft music, dim lights and a romantic movie are the main ingredients for a special and fun-filled Valentine’s Day celebration. So, what are you waiting for, boost up the romantic moment and live in the romantic spirit this Valentine.On Valentine’s Day one can choose from a multiple options of romantic movies and make the day the most memorable one. A romantic movie is the most important part of the day’s celebrations as it expresses the feelings with unspoken words.

WISHING YOU LOVE ON VALENTINE’S DAYThis is one of most emotional movie I have ever seen
Movie DetailsTitle: City of Angels
Time: 117 MinutesStatus: ReleasedCountry: United StatesGenre: Drama, Romance, Fantasy

Review Summary

An angel must decide if love is more important than eternal peace in this Americanized adaptation of Wim Wenders’ modern classic Wings of Desire. Seth (Nicholas Cage) is an angel who hovers over the city of Los Angeles, listening to people’s thoughts, observing their lives, and guiding them to the next world when they die. While Seth and his fellow angels try to offer comfort to people as they can, they are discouraged from direct contact with humans and are usually invisible to them. While at a hospital, Seth sees Maggie (Meg Ryan), a dedicated heart surgeon who attempts to save the life of a patient Seth was to call upon. Maggie is distraught after the patient passes, and her agony touches something inside the reserved Seth; he finds himself falling in love with her, and he decides to make himself visible so he can communicate with her. As Maggie gets to know the strange visitor in black who has suddenly appeared in her life, she finds herself torn between her new feelings for Seth and her attachment to her fiancé Jordan (Colm Feore), a fellow doctor. Seth, on the other hand, has a serious choice to make — between immortality and giving it up in order to know both the pleasures and pains of being a human being. City of Angels also stars Dennis Franz as Messinger, a patient at the hospital who has some important advice for Seth. The film’s soundtrack featured two Top Ten hits, „Iris” by the Goo Goo Dolls and „Uninvited” by Alanis Morissette.City of Angels is a heart-touching love story which reflects about life and death. The story seems to be realistic and touches the soul as an angel named Nicolas gives up eternity in heaven to be with a woman on Earth.

“Pride and Glory,” directed by Gavin O’Connor (“Tumbleweeds,” “Miracle”), plods across familiar ground. It’s yet another movie about the fraternal disorder of the police, in which a gaggle of brothers, professionally sworn to enforce the law and tribally committed to one another, weep and rage and recriminate against a backdrop of urban chaos. Jon Voight — his face as pink as a Christmas ham, his acting in the same food group — is the patriarch of this particular clan, a New York Police Department chieftain named Francis Tierney.

Francis’s older son, Frannie (Noah Emmerich), commands a rough precinct in Washington Heights. Frannie’s brother, Ray (Edward Norton), once a hotshot detective, has withdrawn a little from career and family, making his home on a leaky boat and tending to a scar on his face. Frannie and Ray have a sister named Megan (Lake Bell), whose main function in this highly male-dominated movie is to be married to Jimmy Egan, a hotheaded street cop whose hobbies include breeding, smoking, football and — since he’s played by Colin Farrell — jittery displays of misdirected intensity.

But Jimmy is also, and most consequentially, mixed up in some dirty illegal business. Right under Frannie’s nose he has assembled a squad of thugs and shakedown artists who work with the city’s nastiest drug dealers. After four officers are killed during a raid gone bad, Ray is persuaded by his dad to head up the investigation, which leads him toward Jimmy and his crew, and also leads to some breathless shouting matches.

“Pride and Glory,” which sat on the New Line Cinema shelves for a few years, is not especially good, but there is enough rough artistry in Mr. O’Connor’s direction to make you wish the film were better. He has a good sense of the city’s wearying, exhilarating energy and an impressive ability to pull off arresting visual compositions in close quarters. Many of the indoor scenes have a raw, dangerous intimacy that keeps your attention even when the dialogue tumbles toward cliché.

And the story, while none too fresh — especially if you’ve already seen “We Own the Night” — has a certain rough potency. Written by Mr. O’Connor and Joe Carnahan (with story credits to Mr. O’Connor, his brother Gregory and Robert Hopes, a former New York City policeman), “Pride and Glory” relies a little too much on expository shouting, but there are nonetheless some fine details and powerful, tense scenes. The best stuff can be found around the edges of the main family drama, in subplots and in the supporting performances of Shea Whigham and John Ortiz (as two of Jimmy’s minions) and Jennifer Ehle (as Frannie’s wife, Abbie, who is dying of cancer).

Mr. Norton and Mr. Farrell, unfortunately, play to their weaknesses. Ray — an intellectual as well as a warrior; a gentle avenger with a troubled conscience; kind to children and tough on bad guys — brings out the full measure of Mr. Norton’s vanity, by far his least appealing attribute. Mr. Farrell, meanwhile, once again indulges his blustery mixture of menace and charm, overdoing both. He threatens a baby with a hot iron, but on the other hand he loves his children. It seems plausible that this guy would lead a thuggish criminal enterprise, but not that he could keep it secret for more than 10 minutes.

The third point of the brotherly triangle, Mr. Emmerich’s Frannie, is the sharpest. Even though Mr. O’Connor never fully dramatizes the bonds of loyalty, love and envy that bind Jimmy, Frannie and Ray, Mr. Emmerich conveys the full nature of his character’s uneasy mix of decency and cowardice. While Mr. Voight, Mr. Norton and Mr. Farrell do most of the screaming (and shooting), he quietly and guilelessly steals the movie. If only it were worth a little more.

No bodices rip in “The Duchess,” an overstuffed, intellectually underbaked portrait of a poor little rich girl, but Ralph Fiennes does take scissors to Keira Knightley’s unmentionables for some shivery snip-snip. Based on a true story, as they say in the movies, the tale traces the cosseted, tightly corseted late-18th-century life of Georgiana Spencer, the Duchess of Devonshire, one of those gilded-cage aristocrats who appear to have been primed, pumped and exclusively prized for the fecundity of their wombs. If the name of another suffering Spencer (guess!) popped into your head, you have made the filmmakers very happy.

Born in 1757, Georgiana went from scampering merrily across the emerald expanse of the family estate under the pitiless gaze of her mother (Charlotte Rampling) to trembling under the unloving touch of the Duke of Devonshire (Mr. Fiennes, very fine). A cold if brilliant catch, the duke took his teenage bride expecting she would instantly bear him a male heir. Fate intervened and the happily ever after never materialized, though the children did pop. She wasn’t scrubbing chamber pots for her keep, but she did have to endure her husband’s dalliances. There were tears and storms, petty and political affairs (along with a little unconvincing Sapphic panting) and, in time, the Amanda Foreman book on which the film is based.

Like most costume dramas of this distaff sort, “The Duchess” wants you to pity Georgiana while also indulging in every luscious detail of her captivity. She may have a pimp for a mother and a bore for a husband, but just look at those verdant landscapes dotted with grazing sheep (no grubbing peasants), the fabulously ornamented gowns, leaning towers of wigs, palatial digs and troops of silent servants. (It’s period-lifestyle pornography.)

Working from the unrevealing screenplay that he wrote with Jeffrey Hatcher and Anders Thomas Jensen, the director Saul Dibb laps it all up and dribbles it back without an ounce of reserve or postempire skepticism, his camera trailing after Georgiana like a dog, a vantage point that badly serves his inexpert star.

A big-boned beauty who leads with her jaw, Ms. Knightley looks pretty as a Gainsborough picture in and out of her silks and satins, but she’s not a remotely composed one. Though now 23, she still tends to throw herself around the room like one of those jangling adolescent girls who, arms and legs pinwheeling, heads bobbing like Halloween apples, have yet to adjust to their newly sprouted bodies. (Modigliani would have loved the willowy bend of her neck if he could have persuaded her to stop fidgeting.) She’s not much of an actress — she pops her eyes instead and thrusts out her chest — but she doesn’t need to be Helen Mirren if she can cultivate a real screen presence. Stillness would become her, as would a good director.

In National Lampoon’s Chrstmas Vacation Clark Griswold (Chevy Chase)
attemps to create a picture perfect, old-fashioned Christmas for his
family and invites his extended family to celebrate the holidays at his
home. But a festive supporting cast including Beverly D’Angelo, Randy
Quaid, Julia Louis-Dreyfus, Juliette Lewis and Doris Roberts, 25,000
lights on the roof, an exploding turkey on the dinning room table and a
SWAT team taking a siege outside soon help Clark realize that more does
not always mean merrier…

Drew Latham is a wealthy advertising executive, driven by money, which
results in him living a shallow, pointless life. After being dumped by
his girlfriend, he faces the prospect of another Christmas alone, so he
decides to visit his childhood home to rekindle his old holiday
memories. Once there, he discovers that the house is now owned by
another family, the Valcos. Not to be deterred, Latham offers them 250,000 $ if they will allow him to spend Christmas with them and
pretend to be a member of their family. They accept and then have to
put up with his annoying insistence upon doing traditional Christmas
activities. After a while, Latham starts to care about the Valcos, and
he attempts to repair their marriage. He also develops an attraction
for his ‚sister.’

Tim
Allen is transformed from the holly-jolly Santa of THE SANTA CLAUSE
(1994) to a selfish grinch whose too-small heart eventually swells with
patently false holiday cheer in this sour comedy based on John
Grisham’s novella Skipping Christmas. Nora and Luther Krank
(Jamie Lee Curtis, Tim Allen) are heartbroken when their only child,
Blair (Julie Gonzalo), decides to spend the holiday season with the
Peace Corps in Peru rather than at home with her family. Nora’s
resigned observation that „Christmas won’t be the same” gives Luther
the brilliant idea that they should forgo the usual frantic holiday
mayhem and take a Caribbean cruise. As far as bottom-line-oriented
Luther is concerned, the best part of the plan is that they’ll actuallysave money by avoiding the bank-account-sapping presents,
parties and decorations. Nora agrees and soon has visions of sunscreen
dancing in her head, but their Hemlock Street neighbors and Luther’s
office mates question their dare-to-be-different ways, chastising the
Kranks for refusing to buy a tree from the Boy Scouts, donate money to
the local police or exchange gifts and cards. The final straw comes
when Luther leaves his 6-foot-tall Frosty the Snowman in the basement:
Identical Frostys adorn every other home in the area, and the Kranks’
undecorated place might cost them the Best-Bedecked Community contest.
A near-lynch mob of Christmas-crazed neighbors, headed up by Vic
Frohmeyer (Dan Aykroyd), station themselves outside the Krank house and
start chanting „Free Frosty.” Luther retaliates by icing his walkway
and becomes increasingly curmudgeonly as he gets Botoxed and
sunlamp-tanned in preparation for their trip. But the Christmas spirit
comes back to bite the Kranks when Blair calls to say she’s coming home
to make a big announcement and she expects all the holiday trimmings;
suddenly the cranky Kranks must rely on the kindness of their neighbors
to pull it all together. Curtis’ considerable and diverse talents don’t
go entirely unused — she gets to loose her legendary scream while
hiding out from the snowman-crazed rabble and deserves credit for
proudly displaying her mature, normal-looking body in a teeny-weeny
bikini. But director Joe Roth misses an opportunity for true satire by
making the neighbors such insanely over-the-top caricatures that the
Kranks seem paragons of normality and perspective. Instead of being
condemned for their individuality and rewarded when they cave to
conformity, they should be applauded for standing up to the maniacally
out-of-control Hemlock horde.

Home Alone is the highly successful and beloved family comedy about a young boy named Kevin (Macaulay Culkin) who is accidentally left behind when his family takes off for a vacation in France over the holiday season. Once he realizes they’ve left him „home alone,” he learns to fend for himself and, eventually has to protect his house against two bumbling burglars (Joe Pesci, Daniel Stern) who are planning to rob every house in Kevin’s suburban Chicago neighborhood. Though the film’s slapstick ending may be somewhat violent, Culkin’s charming presence helped the film become one of the most successful ever at the time of its release.